Solar as Design Aesthetic by Shihab Naeem

Factor Topic: Energy Engaging Solar as a Design Expression on Site Shihab Naeem 02/23/13 History: The Northpoint Site is a relevant site in the greater Boston region because it presents itself as a new opportunity for a newer design model. Boston is a city that doesn’t have much land to expand. Over the years, Boston has had to infill areas with water to create new developments. Such examples are the back bay area which was marshy land, the New Convention Center in South Boston. Because of the lack of space in the greater Boston area a brownfield site such as North Point presents itself as a great opportunity for development. Problem: Global warming is a reality and the consequences of climate change take many forms. The extreme weather conditions are a few examples. The reliance on fossil fuels has dangers not just with depleting ozone but creating air pollution that deprives human health and well-being. China, a country that has grown immensely without regard for either neither the worker nor the environment is suffering from intense smog. Along with the problems of pollution and the depletion of the ozone, there is the problem of the diminishing supply of oil. The usage of oil is exceeding the extraction of oil. This calls for an urgency to exploit renewables. Although there is emerging newer technologies in exploiting oil through tar sands and exploiting natural gas through fracking, such procedures are highly risky endeavors. Although such technology indicates that there may be a larger supply of fossil fuels, such procedures have had damaging effects on the environment like the contamination of drinking water through fracking.

Graph Shows how the consumption of fossil fuel is exceeding production (11, Andy van den Dobbelsteen)

A dialogue is shifting to the use of renewable energy “for the simple reason that virtually every commercial activity in our global economy is dependant on oil and other fossil fuel energies.”(13, Rifkin) Buildings are the biggest polluters and how renewables are engaged with them becomes imperative. “In Industrialised countries, on average almost half of the overall energy consumption is apportioned to the energy supply of buildings, that is to heat, cool and ventilate them and supply them with power.”(7, Hermannsdorfer, Rub) The dialogue is shifting to how renewable forms of energy can be expressed within the urban framework. How renewables engage as a stylistic approach may set a trend in the way we express sustainable design. Sustainable design shouldn’t be regarded as a technical engineering aspect as the reading from Making Eco Districts suggest. How a design affects an individual can motivate and alter their perception of sustainable design. Expressing solar in an aesthetic manner can show that a sustainable strategy can integrate into the beauty of an urban fabric and not be seen simply as an add-on to a structure. Using solar in expressive manners has been done in a progressive country such as Germany. Germany is a major leader in solar production and they are cultivating a clever design aesthetic of solar.

Seating Design with Solar(109, Hermannsdorfer, Rub)

Façade Design of Solar (82, Hermannsdorfer, Rub)

Solar Table (105, Hermannsdorfer, Rub)

Solar Façade Wall (73, Hermannsdorfer, Rub) Cultural: How a cosmological attitude towards solar design can influence a moral imperative. In Tim Smith’s Civic Ecology: An EcoDistrict Community Design Framework, he discusses how sustainability should not be limited to an engineering infrastructure. Viewing it as such only makes us bystanders. There must be a cosmology where there is an understanding of what sustainability means. With solar playing both a technical and aesthetic role within the site, the goal is to engage occupants that there is a deeper meaning to such infrastructure. Climate change is becoming a mainstream reality that many understand and design solar raises that awareness. To elevate the solar design with playfulness can show that a technical component can enhance a building’s look and feel and thus spark an interest from others. Solar has been relegated as an infrastructure placed on a roof sometimes hidden or worse sometimes expressed in banal term. The examples of solar design in Germany validate the point that solar can be aesthetically pleasing and engaging.

Preliminary Analysis: The preliminary Design gave a broad-brush stroke of energy analysis of solar. The calculations considered sf of solar in relation to the level of insolation compared to the typical energy consumption of the overall building

Site:

Perspective:

5 Â

3D View:

The Intensive Final Submission gave our group the knowledge that creating a net zero development based on solar is rather difficult. We as a group proposed the inclusion of Wind, Better Insulation, Efficient HAVC system and an innovative insulation system with an extremely high R Value (R50) to offset energy consumption. Our calculations for the spaces were not exact as later explored in the factor paper although it did calculate the total sf accurately which is 2,000,000 sf. The calculations for the solar energy although crude did give insight into the process. However our group used an incorrect method of finding solar energy as we used an average insolation rate to derive what the amount of solar energy can be generated. This paper explores the correct method in solar calculations.

6 Â

Precedent Study: REAP, Rotterdam Energy Approach and Planning

!"#$%&%'()$*+(,-"(./,0-1 2-"(3456(7",-*8*9*':; 2-"(./,0-(#$"($"<=*%8&%'(,*(>9&+#,"( >-#%'"(,-$*/'-(8"<&'%&%'(#%8(?/&98&%'( PRUH HI¿FLHQW XUEDQ GHVLJQV 7KHLU PHWKRG *)(@%A/&$:(,#B"<(&%,*(#00*/%,(,-"("%"$':( 0*%</+=,&*%(#%8(,-"&$(+",-*8(*)(C))<",,&%'1(( 7KHLU PHWKRORJ\ EHDUV VLJQL¿FDQFH ZLWK P\ D#0,*$(6#="$(#<(,-":(#$"(<,$&E&%'(,*(8"<&'%( #%(#"<,-",&0(,-#,(&<("%'#'&%'(#%8(%*,(+"$"9:( #(,"0-%&0#9(&%,"$F"0,&*%;

2-&<(&<(#%(/$?#%(8"E"9*=+"%,(&%(3*,,"$8#+G H#$,(E#%(I/&8((

&1#5./$C#)71,3$+E$F75*$G71$ H64,$)4I#,$63#$,#G#-+;)#1*$ VKRZ WKDW WKHUH LV PRUH HQ2 #5./$5#J645#,$41$*"#$0+-,$3#72 3+19$$K#*"#5-71,3$43$7$1+5*"#51$ 0+61*5/$34)4-75$*+$L73370"62 3#**39$$M60"$41E+5)7*4+1$412 IRUPV ZKDW PD\ EH WKH HQHUJ\ 0+136);*4+1$+E$*"#$K+5*";+41*$ VLWH ZKLFK H[SHULHQFHV FROG ZLQWHUV DV ZHOO F$N$F#7*41. O$N$O++-41. &$N$&-#0*5404*/$

!"#$%&'($)#*"+,+-+./$0+12 34,#53$*"# #1#5./$6367.#$873#,$+1$3#72 3+19$$:"4-#$8#41.$7$*#0"1407-$ 7;;5+70"<$4*$0+134,#53$7$,#2 34.1$7#3*"#*409 =>?<$>><$@A<$B71$$,#1$ C+88#-3*##1D

Energy Analysis:

!"#$%&'#()#'*+#,-.+"',/%',(-#0*,1*#2+%3"#0,'*#"(3%&#%"#%#2+",/-#%+"'*+',14# '*,"#)%1'(&#$%$+&#/(+"#,-'(#%-%356,-/#+-+&/5#7"7%/+8##9(3%&#,"#%#)(&:# ()#&+-+0%;3+#+-+&/5#%-2#%-#7-2+&"'%-2,-/#()#0*%'#%&+#'*+#+-+&/5#&+< TXLUHPHQWV ZLWKLQ WKH 1RUWKSRLQW VLWH LV FULWLFDO WR ¿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¿FDQW LQ UHLQIRUFLQJ FHUWDLQ DVVXPSWLRQV DQG DQHF< 2('(3#@-(03+2/+8 !"#$%&'()$''*+&,,&-./ %*0123#,$*0($0(45

!"#$%&'()$''*+&,,&-./ %*0123#,$*0($0(45

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¿QDO GHVLJQ H[SORLWV WKLV GLI< *1,1)#%6"#($15%*+,%#$1%5+3.,%6.)1357

KWWS ZZZ QUHO JRY UUHGF SYZDWWV JULG KWPO FDQ ¿UVW ¿QG WKH 5HJLRQ !"#$"%&'()*#+,-.%/01

2-)3#4-%#5+#$'4-3%6'4#47+-%'5+%685,#47+!"#$"%,#9-3%4"-%#538:'4#85%*'4-%!"#$"%7:4#('4-:;%$'5% $':$7:'4-%;-'*:;%<!=%>*8+7$4#85%?*8(%@8:'*

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

%\ FROOHFWLQJ GDWD WKH XOWLPDWH TXHVWLRQ LV ZKDW DUH WKH TXDQWLÂ¿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

13 Â

!"#$$%&$'%&'()***)***'+,-.'%&'/0%1'23456"2'6789#:21';)<;;'=2/7%:' >8&1'8?'@47A8&B''>0212'&#5A271'472'72"2C4&/'%&'/2751'8?'108,%&$'/02' 92/7%52&/4"'2??2:/1'8?'0%$0'2&27$D':8&1#56/%8&B''>0%1'1/#9D'8?'2&27$D' :8&1#56/%8&'%1'72"2C4&/'/8'/02'?4:/87'64627'%&'E#4&/%?D%&$'/02'92/7%52&WDO HIIHFWV RI IRVVLO IXHO EDVHG HQHUJ\ DQG WKH VLJQL¿FDQFH RI RIIVHWWLQJ 1#:0'2&27$D':8&1#56/%8&'/078#$0'72&2,4A"21B'>0%1',2A1%/2'4"18'$821' 8C27'08,'54&D'4:721'8?'/7221'472'72E#%729'/8'12E#21/27'/02':47A8&'A#/' /0%1'%1'&8/'4&'86/%8&'?87'/02'F87/068%&/'1%/2'41'/02'&#5A27'%1'23:211%C2"D' 0%$0B'

G"/08#$0'/02'H4:/87'/86%:'%1'I1%&$'J8"47'%&'4&'G21/02/%:'54&&27)'/02' SDSHU ZDQWV WR VKRZ ZKDW WKH EHQH¿WV RI UHQHZDEOHV VXFK DV VRODU FDQ 04C2'%&'8??12//%&$'?811%"'?#2"'A4129'2&27$DB''

Design Analysis Exploration:

:ULWLQJ D 'H¿QLWLRQ WR )LQG 'LIIHUHQW )DFDGH 2SWLRQV DQG JDWKHULQJ 'DWD 8VLQJ *UDVVKRSSHU

VRODU ZLQGRZ 8VLQJ &XOOHG 3DWWHUQV WR )LQG 'LIIHUHQW &RQ! ¿JXUDWLRQV RI 6RODU 3DQHOV DQG :LQGRZV

&XOO 3DWWHUQ

7\SLFDO 0L[HG 8VH 8QLW ZLOO EH &XOO 3DWWHUQ 7KH 'DWD WKDW FDQ EH JDWKHUHG FDQ GHFLSKHU WKH DPRXQW RI .Z+ WKH IDFDGH FDQ !"#"$%&" 7KURXJK GHÂ¿QLWLRQ SDWWHUQ VRODU SDQHOV HDFK ,QA RU VI

7KURXJK GHÂ¿QLWLRQ SDWWHUQ VRODU ZLQGRZV HDFK ,QA RU VI VI [ VI

8VLQJ D GHJUHH WLOW JHQHUDWHV .Z + SHU PA 3HU 6WXG\ VI [ PA .Z + SHU \HDU 7KH SURMHFW ZLOO QRW PDLQWDLQ VXFK GL' PHQVLRQV KRZHYHU WKLV LV D SUHOLPLQDU\ VWXG\ RI VRODU RQ GLIIHUHQW DQJOHV

16 Â

:.00*3;#8,(2/8;*(F6*%8#,B(!7@;8%#.&(:*&%*3B(<3=8&( D830G5(H.%8,5(IAJBAAA($K 6*$#7*&%#8,(2/8;*5(H.%8,5(?BJALBMIA($K H.%8,($K(.K(N.3%O>.#&%()*+*,./0*&%5(PBA?PBMIA($K

?A(2%.345(:.00*3;#8,( 2/8;*B(6*$#7*&%#8,(<&#%$B( C@%7..3(D830B(E*3%#;8,( D830

<3=8&(>3.0*&87*

1(2%.345(6*$#7*&%#8,(9( :.00*3;#8,

?(2%.345(:.00*3;#8, ?(2%.34(!7@;8%#.&(:*&%*3 1(2%.345(6*$#7*&%#8,(9(:.00*3;#8, !"#$%#&'()*+*,./0*&%

!"#$%&&'($)%*%&+ !"#$%&&'&,%-$)%&'.%"%'/0/-/1-%2'-#'2%"/3%'1'2%&/40'&$)%*%' 51&%2'#0'*6'1"%1'#7'/089/"6:''(9$)'&,%-$)%&'79"-)%"'2%3%;#<' LQWR D ¿QDO GHVLJQ VFKHPH ZLWK FDOFXODWLRQV

Final Design Schemes with Final Calculation: !"#$%#&'()*( +,-#%,&.#/$0 1233,45#/$

A4=/&(B/4301237 3,45#/$0+,-#%,&.#/$

82$/4 9&.4:

!"#$%#&'(6*(+,-#7 %,&.#/$01233,45#/$

!"#$%#&'(;* +,-#%,&.#/$0 1233,45#/$

!"#$%#&'(@* +,-#%,&.#/$0 1233,45#/$

1233,45#/$

9<#-.#&' !"#$%#&'12&.4#=".#&'( 82$/4(>2?,4

1233,45#/$0+,-#7 %,&.#/$

20 Â

!"#$%&'()$*+,-. /0'&1$*23

!"#$%&'( 4567$%&'( 8,'&6(9&*5'

!"#$%&'$(#)*

B6#.:4):

!"#$%&'$()(*+(,-'.--(/0#1$(%2(3%").(4%&",(5-(0,-)"(2%.(#$-(5&0",06'(#%(7)80709-(#$-( '.-)#-3#()7%&6#(%2(3%").(-6-.':;((<$-(5&0",06'(5-1%7-3(-81-330=-":(7)330=-;((>%.(#$03( /.%?-1#@()""(3%").(/)6-"3(%6(#$-(.%%2(40""(5-(/0#1$-,(AA(,-'.--3(#%(7)80709-(#$-(/%3305"-( )7%&6#(40#$%&#(5-06'(#%%(07/%306';

!"#$%#"&'()*+ ,)-(./0.-&(-%)/0.*&")/-12"&-".0-&20-0)0.34-%*"30-(5-&20-*'&06-&20*7%".0-5((&"30-(5-&20-/080#(9:0)&-:%*&-;0-.0$(3)'<0/-")/-:%#&'= SOLHG ZLWK DQ HQHUJ\ VWDQGDUG WR ¿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

BC),D)0E$!

BC),D)0E$3

!"#$%#&'()* !"#$%&'()*+,$ -.,+'$/+0&,1$ 234###$)05! 67#$189$&+*:$;$ !"#$<$!24=##$18$

!"#$%#&'(+* 33#$%&'()*+,$1.,+'$ /+0&,1>$224###$ )05! 6?=$189$&+*:$;$ 33#<$!@4#A#$18$$$

BC),D)0E$3> 33#$%&'()*+,$1.,+'$ /+0&,1$224###$ )05! 6?=$189$&+*:$;33#$ <$!@4#A#$18

!"#$%#&'(,* !7!$%&'()*+,$1.,+'$ /+0&,1>$2"4###$ )05! 67?$189$&+*:$;$ !7!<$!A43!"$18

BC),D)0E$"

-./0$(123/#40$(56(%2'322(7.$03(80&2$9(.&(/:2(,(;#<2%(=92( !"#$%#&'9*(+)DE66(9F(G(+HD6I6(9F(G(+HD6I6(9F(G(+IDJ+,(9F(K( )66D6I,(9F(

:$%;<%$#=">1+ )"%$*&+$,-%.&+/#01-2&$#&33&=-4*--.&", *""(#">.&"(&4/?-,&@A/%2/,4.5

?<=%@=>A1&">&)=#B& #C$#&D$EB&'""(& )"%$*&$>@&)C$%%& F"GB*&H"*#CI"=>#& JBEB%"IKB>#

!"#$%&'""(&)"%$*+&,-./00&1(&2&,3.430&1(&2&33.,4/&1(&2&30.000&1(&2& 4,.300&1(&2&45.000&1(&2&/4.000&1(&2&5.000&1(&2&,6.000&1(&7&& ,89.45/&1(&& !"#$%&'""(&)"%$*&+$,-%.&+/#01-2&$#&33&2-4*--.5&6&7839:;<&.(& &

!"#$%#"&'()*+ !"#$%&'$(#)*&+,-./)0&$-&12&3)4%))*5

,-./(#"0.1"2#3*4.3"$5.6,7.*89.,-.:.6,7.*8.;.<=77.*8 '"-$#&!"#$%&'$(#)*&12&3)4%))&+,-./5&6177&*8 . !"#$%&9:-%;&<$;&=,-/&$&>&3)4%))&+,-./5

=>./(#"0.?")3#*4.3"$5.6@@.*89.=>.:.6@@.*8.;.,<4A@<.*8 '"-$#&!"#$%&9:-%;&<$;&+$:)#*5&?6@AB6&*8

!"#$%&'$%'(%$)"*#+, !-./-.0&123&)4156&+78593&!441503&4:&;5<2&=591-<8659&)>?3&4:&+4659& ZLOO EH XVHG WR ¿QG WKH DPRXQW RI NLOORZDWWDJH SURGXFHG DQG ZLWK @8<2&-.:49A51-4.B&-1&C-66&-.:49A&C251&-@&123&4::@311-.0&4:&3.390>D (@-.0&211?,EECCCD.936D04FE993/<E?FC511@&E09-/D21A6, !"#$%&'()*+('#),'-"(.)/0)1"2 3#"")4%$&5

6678)9:;)4#+<=&"<)4"#)>?@ 4"#)A"'#B)6678CD0EF)G)6DH)I:;)4"#) *J)4"#)A"'#K)D00L078).M)+M)!"#$%&'() /0)<"3#"").+('#)4'-"(.)N)6DH9:;)G) 6DLH@HLO88)9:;)4"#)A"'#

!"#$%&'$%'(%$)"*#+, !"#$%&'$()#*&"(&+"",&-./0& 11&2)3%))&4./50

6789&:-;&4%"2<5)2&4)%&=>?& 4)%&@)$%A&6789B1CDE&F&6?8&G-;& 4)%&!H&4)%&@)$%&I&?J1K6E7&*,& ",&+"",&!"#$%&'$()#*&-./0&11& 2)3%))&4./50&L&6?8&:-;&F& 1?6K?JJK1C7&:-;&4)%&@)$%

18&!"#$%&M$N#)*&-./0&6?&2)O 3%))&4./50

6JE7&:-;&4%"2<5)2&4)%&=>?& 4)%&@)$%A&6JE7B1CDE&F&686& G-;&4)%&!H&4)%&@)$%I&9K66P& *,&",&!"#$%&M$N#)*&-./0&6?&2)O 3%))&4./50&L&686&:-;&F& 1K8?1KE7E&:-;&4)%&@)$%

!"#$%&'$%'(%$)"*#+,

'(#*,E$,>&:&.)+*))&21#0H

C=<=&DEF&2*"./0).&2)*&PQA& 2)*&,)$*7&C=<=R=:OB&S&<L?&TEF& 2)*&5U&2)*&,)$*V&=<>@B<&63&"3& '(#*,E$,&5"%$*&-$()%6&E1#H& :&.)+*))&21#0H&W&<L?&DEF&S& @>A<9>=BL&DEF&2)*&,)$*

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

Conclusion: Through including more solar interventions within the site, the urban development ended up significantly producing more energy than consuming. As the statistics show how damaging buildings are environmentally, the design interjects as a response to this problem but not in a technical/engineering method but one that strives to be stylistic and engaging. To create an engaging design is to break free from a purely technical approach and one that has the ability to enrich one’s spirit. Architecture serves that purpose and strives to create that relationship as having people occupy a space determines its vitality. The project has the ability to become net zero certified based on the data. However that is dependant on how the occupants use it. Sustainability again referring back to Civic Ecology must be practiced by the occupants of this new development. If they understand that the building can distribute more energy than consume, occupants may feel entitled to not be considerate of simple practices such as shutting off lights, leaving A/C on etc. However if there is an awareness that their green practices can allow the maximum distribution of energy, they will adapt. Although the proposed development will be a nice place to live and work, it doesn’t express any sustainable features. Viewing the initial renderings do not indicate renewables such as solar or wind being expressed and this presents itself as a missed opportunity. Architecturally the challenge in Boston is an obsession of historicism. This obsession has led to the proliferation of austere post-modern design that somehow try to relate itself with the traditional design through the exploitation of regional materials such as brick, granite and bluestone. Or worse, there have been new buildings that are historic recreations that do not have the thoughtful craftsmanship of older buildings. Robert Campbell discusses this in his article ‘The Problem with Boston Architecture’ arguing that such buildings are like stage sets. Divorcing from the past and creating a new design framework is the best solution although it will be a challenge to sell on a visual level. As a practicing architect, I have been involved in several presentations of design proposals to different design review committees (Town of Brookline, MA; Landmarks Preservation Committee in NYC; Architecture Review Board of Kings Point NY). The architect is critical in influencing a new architecture proposal and this is a critical process because every region will have an aesthetic bias or predisposition. In the case of Boston, it has been an obsession of historicism. As Farr discusses in Sustainable Urbanism, “New urbanist planning practice alone requires a broad range of talents in analysis, visual communication, interpersonal persuasion, and debate.” (Farr, 75) The architect is a critical individual in the development of sustainable design not just in visual communication but engaging

the many and varied different stakeholders that have an influence on the development of a project. Boston is changing in its outlook of architecture. It maintained a historic obsession only because the city suffered from modern architecture that ruined the urban fabric during the 1950s – 1970s. One major example is Boston’s City Hall which completely destroyed a robust urban area, Scully Square. What occurred was a reluctance to accept bold designs because modernism had a bad connotation. “Today's conservatism is a direct reaction against the kind of architecture we got the last time Boston tried to be cutting edge. From the 1950s into the 1970s, nobody in Boston was afraid of innovative architecture. Walter Gropius, former head of the Bauhaus school in Germany, trained a generation of modernist architects at Harvard. Government urban renewal programs led to the demolition of entire neighborhoods and their replacement by what were, at the time, regarded as utopian modern communities.”(Campbell) During the housing boom, Boston saw many high profile buildings emerge from star architects. During the housing boom it was considered the ‘era of the icon’. However this was a reckless period in time that was based on a false economic system. As the housing bubble burst and a massive recession ensued, there comes a new consideration to design. Sustainability is becoming a critical issue at this moment in time as we are seeing dwindling resources, climate change and so forth. As this paper explores engaging solar as a design aesthetic, it address a critical issue at this moment in time (climate change) while also showing that such design interjections can be engaging. Looking at Boston’s obsession with historicism should be seen as what are the challenges that any city in the world has for developing new design. Boston suffered from modern architecture destroying vibrant neighborhoods which in turn led to disapproval of modern design. Over time this attitude has changed. Using solar as an aesthetic sense will require an urgency and push because some cities may resist such a design aesthetic. But such a design strategy not only has technical abilities of harnessing renewable energy but also has the ability to create a new design dialogue within the urban fabric.

Bibliography:

Third Industrial Revolution: how lateral power is transforming energy, the economy, and the world, Palgrave MacMillan 2011, Jeremy Rifkin Civic Ecology: An EcoDistrict Community Design Framework, Tim Smith Sustainable Urbanism, Wiley and Sons, Inc., 2008, Douglas Farr

REAP, Rotterdam Energy Approach and Planning, Andy van den Dobbelsteen Solar Design, Photovoltaics for Old Buildings, Urban Space, Landscapes, Jovis Verlag GmbH 2005, Ingrid Hermannsdorfer/Christine Rub The Problem with Boston Architecture, Robert Campbell, Boston Globe Magazine (1/12/2003) Energy Case Study Analysis: www.Buildinggreen.com Carbon Emissions Calculator: http://www.epa.gov/cleanenergy/energyresources/calculator.html PV Calculator: http://www.nrel.gov/rredc/pvwatts/grid.html Net Zero does not live by design Alone: The Human Factor, http://www2.buildinggreen.com/blogs/net-zero-does-not-live-design-alone-human-factor